Weekend Roundup of Selected Arts Events in the London Area, December 5-7.

Compiled by Richard Young, Publisher & Content Manager, The Beat Magazine 2025

YOU WANT LIVE THEATRE? WE’VE GOT LIVE THEATRE!

Silver Spotlight Theatre presents Showtune, a celebration of the words and music of Jerry Herman.

December 4 – 14 at the Grand Theatre’s Auburn Stage.

Tickets: https://www.grandtheatre.com/event/mtp-showtune

London Community Players present: Deathtrap
By Ira Levin
Directed by James Patterson
Produced by Anita Goodfellow

A thriller about thrillers—and the deadly games writers play.

Sidney Bruhl’s Broadway career is failing fast… until a student sends him the perfect script. What follows is a suspenseful, twist-filled rollercoaster of betrayal, manipulation, and murder. Who’s writing the final act—and who won’t live to see it?

Twists. Turns. Typewriters.

The most diabolically clever thriller ever staged.

This one will keep you guessing.

Nov 27-Dec 7

Tickets: Adults: $33
Students/Seniors (55+): $30
Youth (under 18): $20 (fees included)

Read Jo-Anne Bishop’s Review here: https://thebeatmagazine2025.ca/2025/12/01/twists-turns-and-theatre-tricks-a-review-of-deathtrap-at-the-palace-theatre/

https://mytickets.palacetheatre.ca/eventperformances.asp?evt=513

Miracle on 34th Street, The Play – Dec 4-14, 2025
Adapted by Mountain Community Theatre from the novel by Valentine Davies.
Based upon the Twentieth Century Fox motion picture Miracle on 34th Street.

“This is a tale that we want to believe in, that creates a world we seem to desperately desire, free of the blatant commercialism that surrounds us, where love and decency and generosity of spirit are their own rewards. What we want Christmas to be all about, really.” So writes the Santa Cruz Sentinel of this most heartwarming holiday story. By chance, Kris Kringle, an old man in a retirement home, gets a job working as Santa for Macy’s. Kris unleashes waves of goodwill with Macy’s customers and the commercial world of New York City by referring parents to other stores to find exactly the toy their child has asked for. Seen as deluded and dangerous by Macy’s vocational counsellor, who plots to have Kris shanghaied to Bellevue Psychiatric Hospital, Kris ends up in a court competency hearing. Especially at stake is one little girl’s belief in Santa. In a dramatic decision, the court confirms Kris as the true Santa, allowing Susan and countless other children to experience the joy of childhood fantasy.

Princess Ave Playhouse, 40 Princess Ave, St. Thomas, ON.

https://www.elgintheatreguild.ca/theatre-playbill.html

IF YOU GO:

What: Disney’s Frozen: The Broadway Musicalpresented by The Grand Theatre
Where: Spriet Stage at the Grand Theatre
When: November 18th to January 4th, 2026
Tickets: Disney’s Frozen | The Grand Theatre

Read Jo-Anne Bishop’s Review here: https://thebeatmagazine2025.ca/2025/11/24/a-flurry-of-magic-frozen-melts-hearts-at-the-grand-theatre/

Original Kids Theatre Company presents Between the Lines, Jr.

December 5-7.

Between the Lines is an empowering and enchanting story for anyone who has struggled to find their place in the world. An outsider in a new town and a new school, Delilah seeks comfort in the pages of her favourite book, where she feels heard and understood by the handsome Prince Oliver. But as the lines between fantasy and reality begin to blur in extraordinary ways, Delilah realizes her dreams in the real world are worth fighting for.

https://www.originalkids.ca/

WE’VE GOT LIVE MUSIC!

Because this ain’t your Granddad’s Christmas Benefit Show!

On Sunday, December 7th, the Palasad Socialbowl will come alive with the 13th Annual 63 Monroe Toys for Tots extravaganza. This benefit concert will feature 13 of London’s premier Punk and Rock n Roll acts.

This isn’t just a show — it’s a movement. Every beat, every note, every cheer will help
support 2025’s Toys for Tots Christmas drive. Expect dazzling performances, surprise
collaborations, and an afternoon you’ll not soon forget.

Admission is one unwrapped toy or a monetary donation @ the door, so mark this day
on your social calendar, grab your friends and family and head out to the Palasad and be part of something bigger than music.

The show starts at 1pm, and the last band winds it all down by 9pm. Not only is there a non-stop afternoon of music, but the venue will also feature a large raffle table, giveaways, and more.

Here is the lineup of the talent that has volunteered their bands for this all-out rockin’ event. It’s a Who’s Who of the local scene, including the hosts, 63 Monroe, Stepsisters,
Disgusteen, Tuned Out, Limits of Approach, Dolly Mix, Stunning, Doppelgänger, Snede, Face Lift, Burnt Reynolds, All But Six, Def Bombs, and Turbo Tusk!

Stop by for an hour to cheer your favourite local act or make an afternoon of it and be home in bed by 10pm knowing you helped support a great cause.

Let’s make the 2025 edition of Toys for Tots the best yet!

For more information about the show, contact Steven R Stunning at stunningsrb@gmail.com

IF YOU GO:

What: London Symphonia presents The Sounds of Home.

When: Saturday, December 6, 2025, at 7:30pm.

Where: Metropolitan United Church, 468 Wellington Street, London, ON.

Ticketshttps://www.londonsymphonia.ca/event/sounds-home

Read Daina Janitis’s Preview here: https://thebeatmagazine2025.ca/2025/12/05/london-symphonia-brings-broadway-shimmer-and-gospel-fire-into-the-concert-hall/

The Aeolian Hall presents Don Ross & Julie Malia

Friday, December 5 at 7:30pm

https://aeolianhall.ca/

Friday, December 5th at the Eastside Bar and Grill
Come rock with Bender one last time!!
9pm Start! Cover $10.

https://www.eastsidebarandgrill.ca/

This weekend, After Midnight is back at The Wortley Roadhouse with special guests Jessica Blum on vocals and Anthony Borek on Bass, Friday night, McKenna Langdon on vocals and Ry Guy from Journeymen on Bass, Saturday night. Hope to see all our favourite people on the dance floor.

FRIDAY DECEMBER 5TH
London Music Hall, SummerCamp Productions, Virgin Radio London, and Fresh Radio present SHAWN DESMAN – Back To Life Tour
One of Canada’s most iconic pop and R&B voices, Desman has a legacy of Platinum hits, #1 singles, and unforgettable performances. From winning JUNO, MMVA, and SOCAN Awards to shaping a generation of Canadian music, his impact is undeniable. Now, after a massive 2023 comeback and 2024 smash hits like Maniac and Body, he’s ready to light up the stage once again

with special guest JAMIE FINE

7PM. Licensed/All Ages Event.
Tickets on sale Friday, May 23rd 10AM at https://www.ticketmaster.ca/event/100062AD7FFA105D

London Music Hall – 185 Queens Ave – London, ON
www.londonmusichall.com

 WE’VE GOT ART EXHIBITIONS!

Andrew Lewis Solo Exhibition, Notes From The Mindfield, December 4 – January 10, at TAP Centre of Creativity.

Read Beth Stewart’s Preview here: https://thebeatmagazine2025.ca/2025/12/02/andrew-lewis-finding-balance-notes-from-the-mindfield-preview/

Westland Gallery presents From The Vault, December 2 – 30. Open House Saturday, December 6, from 1:00pm to 3:00pm.

http://www.westlandgallery.com

OTHER

Christmas In The Village, Saturday, December 6, Wortley Village, London, ON.

Light up the holidays in Victoria Park, starting tonight at 6 p.m. Enjoy live local music, food trucks, and a complimentary 360° photo booth.

@OfficialFarmBoy will also be onsite, offering free hot cider samples and collecting non-perishable food donations in support of the London Food Bank.

Kids, don’t forget to stop by Santa’s Mailbox to send your holiday wish lists to the North Pole.

Special guest John Davidson, founder of Jesse’s Journey, joins us for the ceremonial flip of the switch at approximately 6:55 p.m., illuminating over 100,000 lights and filling the park with holiday magic!

Don’t miss the moment the holidays begin!

london.ca/lightingofthelights

  • Sat, Dec 6, 202510:00 a.m.  Sun, Dec 7, 20253:00 p.m.

December 6 & 7

Join us for Christmas at the Village and learn all about how people in the 19th century enjoyed the holiday season! St. Nicholas may even be there!

Twists, Turns and Theatre Tricks: A Review of Deathtrap at the Palace Theatre.

Reviewed by Jo-Anne Bishop

The Palace Theatre’s presentation of Deathtrap by Ira Levin, directed by James Patterson and produced by Anita Goodfellow, offers an entertaining evening of twists, tension, and clever stage trickery, though not without a few bumps along the way. The play follows Sydney Bruhl, a once-successful playwright desperate for another hit. When a promising script lands in his hands, temptation and ambition collide in ways that blur the lines between collaboration, manipulation, and survival. It’s a clever premise that thrives on surprises, so the less said, the better. (You will find no spoilers here!)

I found myself torn on this production, caught somewhere between enjoying its strengths and feeling like something essential wasn’t quite landing. Much of Deathtrap’s charm comes from its blend of suspense and dark humour, yet the comedic elements, which should give the script its bite, didn’t always come through in the delivery. This left certain moments feeling flatter than intended.

(Pictured: David Lamari as Sydney Bruhl. Photo Credit: Ross Davdson.)

David Lamari gives a commendable performance as Sydney Bruhl. He steps into the role wholeheartedly, bringing a natural ease and believability that anchors the show. Lamari is a talented performer, and his commitment to the character stands out, even when some scenes around him falter. His delivery had great strength and presence, though at times he needed more volume.

(Pictured: Julia Askerov as Helga Ten Drop. Photo Credit: Ross Davidson.)

Julia Askerov, as the eccentric psychic Helga Ten Dorp, brings good energy to the stage and earns some of the play’s lighter moments. However, her dialogue was at times difficult to understand due to her character’s intended thick accent. In contrast to Lamari, her projection was strong, but the clarity wasn’t always there.

In fact, aside from Askerov, the cast as a whole could benefit from stronger vocal projection. There were stretches where dialogue became muddy or simply too quiet, causing important lines to get lost. Combined with occasional holes in the comedic parts of the performances, this affected believability in key moments.

(Pictured: Porter Milgrim and Sydney Bruhl. Photo Credit: Ross Davidson.)

On the technical side, the production shines. The set, designed and constructed by Eric Bernard, David Long, and Heather Meadows, is fantastic. Immersive, clever, and perfectly suited to the play’s tone. Lighting and sound, executed by Rob Coles and Mariann Sawyer, respectively, were executed perfectly, enhancing tension and atmosphere without overpowering the action. The costume designs by Aiden Thomas and Lorna McKenzie were well done and nicely suited to the characters.

Overall, Deathtrap is an enjoyable watch with moments of genuine intrigue and visual excellence. It is a solid production that entertains, even if some elements fall short. Even with some missed comedic beats and moments that could use stronger projection, the production’s solid performances and outstanding technical work make it an engaging ride. It’s a show that reminds you why live theatre is irresistible: You never quite know what’s coming next. And Deathtrap plays that game very, very well.

IF YOU GO:

What: Ira Levin’s Deathtrap

Where: The Palace Theatre Arts Commons, 710 Dundas Street, London, ON.

When: November 27th – December 7th, 2025

Tickets: Tickets | Deathtrap | The Palace Theatre Arts Commons

Reviewed by Jo-Anne Bishop

Liam Grunté Theatre & FPT London present It’s A Wonderful Life, A Live Radio Show, November 26-29, on the Grand Theatre Auburn Stage.

Based on the story “The Greatest Gift” by Philip Van Doren Stern, It’s a Wonderful Life: A Live Radio Play is adapted by Joe Landry. The play is directed by Liam Grunté, with Original Music and Musical Arrangements by Kevin Connors

Joe Landry’s adaptation presents the story in a new and innovative way. This beloved holiday classic comes to life as a live 1940s radio broadcast. An “All Star” cast gathered on Christmas Eve 1948 at WBFR radio station, only to find out that their foley artist was a ‘no show’ and they needed to create their own sound effects using the materials that were set up on the prop table. The 1940s live radio show format offers the audience an opportunity to experience this classic tale as well as see how the magic of sound effects is created. 

Brilliantly acted by this versatile ensemble cast, this unique production of It’s a Wonderful Life is sure to captivate audiences as it regales the classic Christmastime story in a new and entertaining presentation.

(Pictured: It’s A Wonderful Life, A Live Radio Show in rehearsal.)

IF YOU GO:

What: Liam Grunté Theatre & FPT London present It’s A Wonderful Life, A Live Radio Show

When: November 26, 27, 28 and 29 at 7:00 p.m. Saturday, November 29 at 2:00 p.m.

Where: Grand Theatre – Auburn Stage – 471 Richmond Street, London, ON

Tickets:
Adult – $35 plus fees/HST

Seniors & Students $30 plus fees/HST 

Available at the box office by calling 519-672-8800 or online at https://www.grandtheatre.com/event/its-wonderful-life-live-radio-show#upcoming

(The Greatest Gift is used by permission of The Greatest Gift Corporation. It’s A Wonderful Life, A Live Radio Show, is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service collection. (www.dramatists.com)

Silver Spotlight Theatre presents Showtune, December 4-14, on the Grand Theatre’s Auburn Stage 

by Richard Young, Publisher & Content Manager, The Beat Magazine

Silver Spotlight Theatre, London’s group for performers aged 55 and up, presents its fourth musical, Showtune, celebrating Jerry Herman’s work this December. 

Like the group’s previous shows – Babes In Arms (2023), Grease (2024), and Into The Woods (2024) – it is expected to sell out. 

The Beat Magazine spoke with Showtune’s Director and Silver Spotlight Theatre co-founder, Rick Smith, about the show and the group’s move towards incorporating itself as a not-for-profit organization. The following Q&A Interview has been edited for length and clarity. 

(Pictured: Rick Smith, Showtune director and co-founder of Silver Spotlight Theatre.)

Q. Could you review for our readers how, when, why, and by whom Silver Spotlight Theatre came into being?  

Just before COVID locked us all safely away at home, Art Fidler, now affectionately called the ‘grandfather’ of Silver Spotlight Theatre, approached me, the then President of Musical Theatre Productions, about an idea of establishing a wing of MTP dedicated to people in an older demographic (55+). We met with Kathy Smith, who directed us to the Ontario Government Grant offerings to launch this untested idea. We were fortunate enough to receive funds from their Seniors Living Grants. Mary-Ellen Willard, one of Art’s former students, offered the services of her company, AdHome Creative, to create a new logo and support the visuals used for our production. From there, we floored it, and away we sped toward the big reveal. Art and I took the lead, directing the first production, Babes In Arms, with Kelly Holbrough producing, Janice Wallace as Musical Director, and Candy Robinson as Stage Manager. 

Q. What role does SST play in London’s theatre community? 

There are several outlets for London youth to gain theatre experience through Original Kids, London Youth Theatre Education (LYTE), Arts 4 All Kids, and more. For individuals 20-54, the Palace, Musical Theatre Productions, Odessa Company and others offer lots of opportunities to get involved in community theatre. That leaves interested parties in the 55+ age range very few opportunities, especially on stage. Unless a script calls for a grandparent, the ability to learn, grow and get engaged is minimal. Silver Spotlight Theatre offers those in this demographic the opportunities that are otherwise limited. It has provided a creative outlet and a place to learn and experiment in theatre craft. More than that, it has built a solid connection for those who get involved in our productions. In post-retirement life without external interactions, it is easy to sit in front of the TV and wait. Silver Spotlight Theatre has brought those people out of their armchairs and helped them join a really connected community with regular gatherings, parties, brunches and friendships. Through the arts, seniors get to learn, create, move and connect. 

Q. Can you tell me a bit about SST’s previous three sold-out productions? 

Babes In Arms (2023) was the first production. It was a coming-of-age story where seniors were cast in roles of minors trying to prove themselves by “finding a barn and putting on a show”. It was filled with a lot of American Songbook numbers written by Lorenz Hart (The Lady is a Tramp, Where or When, My Funny Valentine, and more).

That was followed by the ever-popular Grease (2024), where again seniors were performing as teenagers from the ‘50s and singing the memorable tunes from the show, Greased Lightning, There Are Worse Things I Could Do, We Go Together and more.

To mix it up a bit, the third production was Stephen Sondheim’s Into the Woods (2024), where we turned our seniors into fairy tale characters and really tested them by performing it In the Round, which was a new concept for many of the cast.

Finally, our fourth and final production under the MTP umbrella is Showtune, a musical review of the words and lyrics of the great Jerry Herman. Again, a new vehicle for our dedicated, hardworking teams. There is no time to catch their breath in this action-packed song and dance show  

Q. Can one talk of a Silver Spotlight Theatre troupe, or are new cast and crew members added to each production? 

While there are several returning cast and crew members from each show, we have had many new faces, as well as new as 55+ can be, come out to audition and reach out to get connected. We have people in our audience who meet with us during intermission or at the end of a show, asking how they can get involved. Within each show, this troupe grows and inspires new folks to try something new or re-stimulates the passion for theatre from years gone by. A lot of our members are first-time performers or backstage helpers. Some come back to the stage for the first time since high school, while others have transitioned from the standard community theatre stage to ours, bringing their experience with them to share with others in the group.

Q. Putting bums in seats is always a challenge for community theatre groups. What explains SST’s success? 

I think what has made Silver Spotlight Successful is, in part, our affiliation with MTP as a brand endorsement. MTP has a long history within the London community, and with that, it brings a following. But it is also unlike that of the youth programming. Every parent and grandparent wants to see little Suzie or little Tom on the stage. SST brings out the grown children and grandchildren of those included in the production. It is an extension of what we call our family. Once they see what we can do, word of mouth spreads, and it brings in others who want to see what it is all about. There is a sense of curiosity that comes from this kind of niche group.  

Q. What can people expect to see/hear if they attend Showtune? Any highlights you would like to cite? 

Audiences will be thoroughly entertained with Showtune. Jerry Herman wrote the songs from some of Broadway’s biggest hits like Hello Dolly, Mame, La Cage Aux Folles and more. He was a storyteller with his music, but not as technical as Sondheim or Lloyd-Webber. People can hum along with his tunes. They consist of light-hearted and uplifting lyrics, and even the songs that have a more sombre feel have a positive message and always look on the bright side of life. The cast has grown to love these tunes and sing and dance with all their heart. I challenge audience members not to tap their toes or hum a familiar tune.

Watch cast member Angie Batte Jansen talk about Showtune: https://www.facebook.com/share/v/14Pr3LnvXtz/

Q. Up until now, SST has operated as a branch of London’s Musical Theatre Productions. What precipitated SST’s decision to incorporate as a stand-alone not-for-profit organization? 

With each production, those involved in SST productions have learned and grown. We are incredibly grateful to MTP for taking the chance on this untested concept. Without the Board’s approval and encouragement, there wouldn’t be an SST company. That said, the learnings and the growth over the past four seasons made the group realize that having the autonomy to make its own decisions was needed. We felt it was time to ‘grow up’ and take the lead for itself. There are life and work experiences that the SST followers bring with them, whether it is project management, people management, education delivery, or finance finesse. These are the skills included in this troupe that make it easy to make appropriate decisions that we can own as our own. 

Q. What are the advantages/benefits of SST becoming a not-for-profit organization? 

It was important for the inaugural Board to obtain a charity status. We realized under MTP that status allows for greater opportunities to obtain sponsorship and private donations. Getting a tax slip for their support of our organization makes it far more attractive for donors and sponsors to contribute. It also allows us the opportunity to be eligible for corporate and government grants. Funding is a very important element for starting any new venture, and we rely on those sponsorships and private donations to help get things off the ground. MTP was the benefactor of our previous productions as they flipped the bill to pay for our shows, so we are starting out from ground zero. The ability to offer tax slips as deductions on income taxes gives us a wider range of avenues to achieve the goal of capturing the attention of those willing to support our organization.

Watch cast member Rob Hibbs talk about Showtune: https://www.facebook.com/share/v/1BgHdXgCih/

Q. Has an interim Board for the new group been appointed? 

Yes. This was very important to the small committee working with MTP to establish longer-term visions for SST. In order to incorporate and gain charitable organization status, a Board of Directors needed to be appointed from that small group of core SST members. We elected the key board members to get the ball rolling. It was important to provide some experience to these positions to begin to establish the credibility of the Board. With our combined 60+ years of community theatre experience, I was appointed President along with Toni Wilson as Vice President. A Secretary needs to be very organized with the ability to be concise yet thorough with communications, so Cathy Weaver, a retired head of HR, was unanimously elected to that position. We knew we needed an experienced manager of finance to take on the position of Treasurer. Alex Gow has the appropriate designations and experience to ensure the appropriate accounting and tax filing is complete. And there is no need for a Treasurer without funds, so Susan McKone and Tracey Andrus, two very connected and imaginative women, were appointed to Fundraising and Sponsorship. Dan and Margo Surman hold seats as Members at Large and, although they do not have a designated portfolio, their contributions and support for these different commitments will be invaluable. 

Q. What are the next steps for Silver Spotlight Theatre? 

SST must establish a foundation, including but not limited to seeking sponsorship and donations, identifying a rehearsal space, and gathering SST supporters to build a strong foundation. We want to engage our members by including them in the process through committee work, brainstorming, leveraging resources and contacts to help get us off the ground. Our first official act will be holding a meeting for anyone interested in the future of SST on January 13, 2026. The time and location will be announced once we have secured a venue. Oh, did I mention we are starting at ground zero?

Q. Is there anything else you think our readers should know about Silver Spotlight Theatre and/or Showtune? 

Although Silver Spotlight Theatre has stepped into the light as its own entity and, in a way, is starting anew, our core values and goals remain the same. We are still committed to developing quality performances, granting opportunities to develop performance and designer programming for education and skill development, and the inclusion of age-appropriate members who are interested in being part of our community. This is the first of our building blocks, and we will be looking to our membership to assist with brainstorming ideas to raise funds for our three, five and ten-year strategy plans. This is the first of many steps in achieving and maintaining the community that has become Silver Spotlight Theatre. 

Cast:

Angie Jansen

Barb Currado

Carol Taylor-Wilks

Dan Surman

Deborah Mitchell

Holly Kinchlea Brown

Jayne Terry

Jensen Caughlin

Joanna Makinson

Karen MacDonald

Karon Dean

Lesley Andrew

Lisa Jones

Margarita Sanchez-Favro

Maria Marsh

Mitch Zimmerman

Rachelle Peterson

Rick Smith

Rob Hibbs

Steve Hobbs

Susan Dean

Susan McKone

Therese Hibbs

Creative Team:

Director: Rick Smith 

Assistant Director: Nick Banks 

Musical Director: Jeff Holbrough

Choreographer: Grant Statchuk 

Producers: Mike Jewison and Candy Robinson 

Stage Manager: Teri May

Assistant Stage Manager: Tracey Andrus

IF YOU GO:

What: Silver Spotlight Theatre presents Showtune, a Celebration of Jerry Herman’s Words & Music.

When: December 4 to 14, 2025.

Where: Grand Theatre Auburn Stage

Tickets: https://www.grandtheatre.com/event/mtp-showtune

To learn more about Silver Spotlight Theatre and Showtune, visit https://www.mtplondon.ca/silver-spotlight

(Showtune is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. 
www.mtishows.com)

(NOTE: The videos embedded in this Interview are courtesy of Brian Ince.)

The Life and Times of Dave Semple: Renaissance Man.

by J Bruce Parker

(Photo by Liam Semple)

If you know Wortley Village resident Dave Semple, his quality of generosity first comes to mind. The retired drama teacher with over thirty-five years of experience as an actor and director has offered free workshops for aspiring thespians. As a guitar luthier, he has built and given away several guitars to those he felt needed them, as well as taking the time to teach the instrument to seniors.

Dave is a prominent and familiar presence in local theatre, and both his love of the stage and music have become the focus of his post-retirement life.

Dave was born in Quebec to a young and struggling mother and was put up for adoption when he was five months old. His adoptive parents moved about, and Dave found himself in the city of Rouyn Noranda, a mining town, dedicated to the recreations of hockey, snowmobiling, and ice fishing.

(Photo by Ross Davidson.)

Dave felt that he really didn’t fit in. “I had a little music room with a piano and a couple of guitars, and that’s where I escaped,” he says. He noodled about on the piano and eventually took lessons, but again, could not fit in with the role of a piano student.

“My teacher realized that I was struggling to learn to read music, so she started to train my ear. I couldn’t sight-read but she recognized that I had a really good ear, and maybe she could train that instead. It influenced me in how I became a teacher, as her philosophy to meet the student where they are became my philosophy as a teacher.”

Dave eventually crossed the border into Ontario, where he enrolled at the University of Windsor in a Bachelor of Fine Arts program. He considered the idea of theatre as a career but did not pursue it. “I never wanted to be an actor full-time as the idea of always looking for work scared the crap out of me,” he says.

He had a friend working at the University of Western Ontario who was able to cast him in Romeo and Juliet as the character Tybalt. “They needed someone to do the sword-fighting scenes, and I had learned combat choreography at university. I had also done some fencing,” Dave recalls.

(Photo by J Bruce Parker.)

With this success, he realized he liked the idea of teaching, and it appealed to him as a choice for a working career. Dave taught Drama at Strathroy Collegiate for four years before transferring to Oakridge Secondary School. It was here he met James Patterson, head of the Drama Department, who would be part of his career in theatre for the next thirty years.

After leaving Oakridge, Dave taught Drama and English at Saunders Secondary School for nine years, leading up to his retirement in 2022.

Dave’s wellspring of creativity has produced two novels, four books of poetry, one poetic novella, and two books of ‘Words of Wisdom.’ As a singer/songwriter, he has released five CDs, but his musical artistry was stifled for a time when “The pandemic kicked that out of me,” he says.

Three years out of the pandemic, Dave is rethinking and creating again.

(Photo by J Bruce Parker.)

His work as a guitar luthier began when he could not find an electric guitar with specific woods and electronic features that he wanted. It was his father who taught him carpentry and electronics, which aided in his task. He found the parts online and built his own. This hobby grew over the last seven years when local guitarists would seek him out for repairs or to customize their own instruments. Eventually, orders came in for specific body designs, woods, and electronics, and ‘Phoenix Guitar Works’ was born. Dave tells me, “The name came from a few crashes and burns in my life.”

After his retirement, Dave found a new energy and discovered that “time is now finite.” This energy inspired him to audition for leading roles in two productions at the Palace Theatre: The Black Bonspiel of Wullie MacCrimmon and The Donnellys, which was directed by his long-time friend James Patterson. He was eventually doing back-to-back rehearsals. Dave moved from the sinister but charismatic character of the devil in ‘Black Bonspiel,’ to the patriarch of the infamous family from Lucan.

“I like dramas more than comedies,” he tells me. “I like stories that are dark and have a good depth of substance to them.”

(Photo by Ross Davidson.)

Peter Colley’s play about the brutal massacre of a family in Lucan in 1880 was previously performed in London at the Grand Theatre in 1974. It portrays Johanna and James Donnelly as victims of this horrendous crime. Other accounts of this event have been less sympathetic to the couple. “We wanted to bring out that they were a loving couple and that they were trying to make the best world, despite all the strikes against them. We wanted to make them likeable and relatable,” says Dave.

Last year, Dave was cast in local playwright Jason Rip’s Man Up, a piece of theatre produced and directed by John Pacheco, which was performed at the Manor Park Memorial Hall for five sold-out performances. Divided into eighteen scenes, the production explored the definition of masculinity and the associated high rate of male suicide.

In a television interview about Man Up, Dave expressed, “Since COVID, I think theatre has gotten really safe with light and fluffy productions to bring audiences back in. You go to the theatre to escape or connect. With this play, every night when I go home, it stirs up feelings and thoughts, and I want to have discussions with people. And this is what is important about this play in particular.” He adds, “In thirty years of teaching, I lost eight students to suicide.”

Dave has directed nineteen plays, and he enjoys moving back and forth from directing to acting. “It depends on my frame of mind if I want to direct or act. But acting is more work as you have to memorize.” Laughing, he adds, “I have a hard time liking young actors. I like the ones who are my age and older.” 

It is tough for him to single out a favorite actor, but Gene Hackman comes to mind when he is persuaded for an answer.

It is no surprise that this talented craftsman recently created and performed Stories and Songs, a fundraising event for the Palace Theatre on November 6. Dave is a voice of his community, and his voice regaled friends and fans with his music and personal reflections.

His performance at the Palace’s Procunier Hall was perfect for an intimate evening. A comfortable parlour chair, an antique table displaying the visual memories of his songs, underscored with soft lighting. He picked from four guitars, regarding all as his ‘friends,’ and explaining the history of each.

His three-hour marathon performance with a brief intermission was culled from his vast creative work and warm and generous heart. He emptied his pockets of childhood memories in song and spoken word, often in a cathartic voice, directing us to his beginnings as a five-month-old child being given up for adoption. Love, acceptance, and family become important themes in his music.

His presentation was interactive as he requested ‘Dad Jokes’ regarding his remembrance and relationship with his own adoptive father, as well as inquiring about a recent moment of ‘joy’ from his audience. And joy is something we need more of these days.

(Photo by J Bruce Parker)

Gathering a few young people to sit at his feet, in a most grandfatherly and comedic manner, Dave told an anecdote of something antiquated and nearly extinct: the vinyl record.

His final song was not his, but of his friend, musician Jake Leveque, a musical force of this city who passed away in 2024.

Following Dave Semple down his road of memory is often a very familiar journey, as his memories can be relatable. He examines his humanity, which allows us to reflect on our own. You listen closely, and his voice in song becomes your voice.

Originally, Stories & Songs was to be a one-off event, but it was met with such a measure of success, several performances are now booked at the Palace Theatre in the Spring of 2026.

Dave Semple is now directing Closer, a play by British playwright Patrick Marber, in a production which will run from February 5 to 15 at Procunier Hall at the Palace Theatre.

To hear Dave Semple’s music, visit https://www.reverbnation.com/davesemple

Follow Dave on Facebook: https://www.facebook.com/profile.php?id=100032083767062

By J Bruce Parker

London’s Emerging Talent Shines in Theatre Aezir’s Production of Dating Games

Reviewed by Jo-Anne Bishop

(Photo Credit: Helen Wrack-Adams)

Theatre Aezir’s latest production, Dating Games by Garth Wingfield, offers a sharp and entertaining look at the unpredictable world of dating and modern relationships. Produced by Elizabeth Durand and directed by five emerging talents, this vibrant and polished staging proves that collaboration and fresh perspective can deliver an invigorating night of theatre.

Running a brisk seventy-five minutes, the show is a dynamic blend of styles and tones that somehow interweave with ease. Each vignette stands on its own while contributing to a cohesive whole, a testament to the directors’ shared vision and the power of creative synergy.

Under the collective guidance of its five directors and their mentors, the production maintains a remarkable sense of unity. The vignettes shift from playful to poignant, all anchored by Wingfield’s clever, relatable writing. The minimalist set design serves the piece beautifully, enabling fluid transitions and keeping the spotlight firmly where it belongs – on the script and stellar performances.

(Photo Credit: Helen Wrack-Adams.)

And what performances they are.

James Callaghan, Chiedza Gondoza, Haley Gordon, Aidan Robertson, Billie Gould, Danika Goss, Matthew Lazaris-Brunner, Ryan Memarzadeh, and Mike Wisniowski form a stellar ensemble. Each actor brings charisma, honesty, and razor-sharp comedic timing to the stage. While the entire cast impresses, a few moments shine especially bright for their precision and emotional nuance.

One such standout is “Mary Just Broke Up With This Guy,” featuring top-notch performances from Haley Gordon and Aidan Robertson. Robertson, in particular, delivers a variety of characters with such wit and timing that you’ll wish this ‘playlet’ ran just a little longer.

Witty, tightly executed, and full of heart, Dating Games highlights Theatre Aezir’s flair for fresh, thoughtful programming and affirms the promise of London’s next generation of theatre-makers. It’s a smart, engaging production that reminds us, kind of like love itself, that live performance is always worth the risk.

(Photo Credit: Helen Wrack-Adams)

If You Go:

What: Dating Games presented by Theatre Aezir
Where: First Baptist Church, 568 Richmond St, London, Ontario
When: November 6-16th, 2025, Evenings at 8:00pm • Matinees at 4:00pm
Tickets: $30, available Dating Games – Bad dates. Good theatre.

For more information about Theatre Aezir, visit https://theatreaezir.com/

Follow on Facebook https://www.facebook.com/theatreaezir

Follow on Instagram https://www.instagram.com/theatreaezir/

Reviewed by Jo-Anne Bishop

Ronnie Burkett’s Wonderful Joe is topical, heartfelt and heart-wrenching

Reviewed by J Bruce Parker

(Pictured: Joe Pickle and Mister the Dog. Photo Ian Jackson, Epic Photography.)

Puppetry seems to be a lost art. If you remember The Friendly Giant or Howdy Doody, we are about the same age. And, of course, Puppeteer Jim Henson created a cultural legacy with his Muppets, which still live on.

A marionette takes the skill of the puppet to the next level, creating the lifeblood of the character with deft movements of their hand and fingers on their stringed or wired figure. This form of theatre has been around since the Middle Ages.

Ronnie Burkett is an award-winning Canadian puppeteer, hailing from Medicine Hat. His career was inspired at the age of seven by the puppet scene of the Lonely Goatherd in the film The Sound of Music. Again, if you recall that, we are about the same age. Burkett’s puppetry work is not new to the Grand Theatre, as previous productions of The Daisy Theatre (2017) and Little Dickens (2023) were sold-out events.

He now brings the poignant Wonderful Joe to the Grand Theatre’s Auburn Stage with a glorious score and soundscape by John Alcorn

The story explores the all-too-common urban practices of “renoviction” and gentrification. It happens to the folks in a high-rise and is viewed through the eyes of Joe Pickle and his listless dog, Mister. Joe consoles his neighbours, who, like him, will soon hit the streets as well as those who work the street. He is an endearing soul, wrapped in a veneer of positivity, and seizes the opportunity to take us on a walkabout through the fictitious Eileen Avenue.

(Pictured: Ronnie Burkette and the marionette leaning rail as playboard. Photo – Ian Jackson, Epic Photography.)

Joe foresees his beloved block, the home of various drag queens and sex workers, becoming “white and boring and clean and neutral.” He sees the beauty in this derelict neighbourhood and the goodness and worth of its inhabitants.

The denizens of Eileen Avenue all have a story to tell, told in a wickedly paced repartee. There is pathos as well as humour as we are witnesses to the local residents attempting to find identity and acceptance. It is all too real and very touching, and quite easy to relate to the struggle of Burkett’s characters.

Burkett conjures up bizarre yet hilarious meetings of Jesus, Santa Claus, and the Tooth Fairy in a gay bar, all struggling with who they are and what is expected of them.

(Pictured: Sonny, Joe, and Mister. Photo – Ian Jackson, Epic Photography.)

We end with Joe on a bench in a parkette, consoling a young, troubled schoolgirl. It is here that Joe reveals his own tragic youth, his creative ways of coping, and his dreams.

Ronnie Burkett’s dark production is honest, gritty, and convincing to the point where one often loses track of the man on the stage pulling all the strings.

Wonderful Joe is both heartfelt and heart-wrenching in defining the ability to cope in current times and transcend beyond your past.

Credits:

John Alcorn – Music Production, Arrangements, Vocals, Keyboards, and Digital Programming

Kevin Humphrey – Lighting Design

Terri Gillis – Production Manager/Artistic Associate

Crystal Salverda – Stage Manager/Technical Director

John Lambert – Associate Producer

Ronnie Burkett – Marionette and Costume Design

Kim Crossley – Costumes

Puppet Studio – Alexander Mantia, Aidan Sparks, Angela Talbot, Dina Meschkuleit, with Martin Herbert, Andy Hayward, Shanna Miller, Justin Mezzapelli, and Brigitte Sampogna

Camellia Koo – Shoes

Greg Ballora (after Luman Coad) – Marionette Controls

Marcus Jamin – Marionette Stringing

Robbie Buttinski – Majordomo

Scenic Construction by Shop Dogs, Montreal 

Daniel Barkley – Scenic Painting

Aidan Sparks – Model and Drafting

Featured vocals – Coco Love Alcorn

Mixing and mastering – Jeff Wolpert, Desert Fish Studios

If You Go:

What: Ronnie Burkette’s Wonderful Joe

When: November 4 to November 23

Where: Auburn Stage at the Grand Theatre. 471 Richmond Street, London, Ontario

Tickets: Single tickets are $48, and Auburn Series Subscriptions offer a 25% discount ($71.44 for both Wonderful Joe and Mrs Krishnan’s Party). Tickets and subscriptions are available at grandtheatre.com, by phone at 519.672.8800, or at the Box Office, 471 Richmond Street.

Reviewed by J Bruce Parker

Theatre Aezir’s Dating Games, November 6-16, is more than just a show.

by Erin Sevigny

Wednesday, November 5, 2025

It’s the night before opening night. We call that a Dress Rehearsal. When I left the theatre on Wednesday night, the chairs were not set up, cables were all over the place, we were still waiting for a wardrobe delivery, and I had to stop by the LCBO to get a replacement prop.

But you know by tomorrow night at 7:55pm, everything will be in place, lines will be learned, and the directors can finally breathe. Every time I do this, I ask myself, ‘Why do I do this to myself?’ And the next time I forget what it was like, I just do it again.

Dating Tip: Skip the small talk, go to the theatre.  Theatre Aezir presents Dating Games by Garth Wingfield — laughter, romance, and everything in between. Come with a date, come with friends, or come alone and make new ones in the lobby line. Either way, you’ll fall in love with the show. 

Dating Games features five short plays, each showcasing a comically terrible first date that goes off the rails. Written by Garth Wingfield, the show’s real focus lies not in the dates themselves, but in the emerging theatre talent directing the plays. This production serves as a groundbreaking training initiative, providing mentorship and performance opportunities for up-and-coming directors.

Dating Games is a truly special production. It is more than just a show; it’s a project that combines mentorship, training, and performance, contributing to the entire theatrical community,” says Elizabeth Durand, Theatre Aezir’s Artistic Director.

“We are so proud of our Emerging Directors. Our mentors are guiding them, but they hit the road running on all four cylinders. Each of them has a distinct style, but is no less effective. We are sure that after this experience, there will be five new directors ready for their next assignment,” adds Durand.

Check out this short video featuring Cast & Crew members answering the question: “Why should people come see Dating Games? https://www.facebook.com/share/r/1CLH8LELj9/

Your support is crucial to fulfill the promise of this project.

If You Go:

What: Theatre Aezir presents Dating Games.

When: November 6th to November 16th

Where: First Baptist Church, 568 Richmond St., London, ON

Tickets: Discount codes are available for seniors, under-30s, and arts workers on Theatre Aezir’s ticketing page: https://events.humanitix.com/dating-games-bad-dates-good-theatre

For more information about Theatre Aezir, visit https://theatreaezir.com/

Read The Beat Magazine’s Profile of Theatre Aezir at https://thebeatmagazine2025.ca/2025/10/02/introducing-theatre-aezir-qa-with-elizabeth-durand/

Follow on Facebook https://www.facebook.com/theatreaezir

Follow on Instagram https://www.instagram.com/theatreaezir/

Expect the Unexpected at Port Stanley Festival Theatre’s 2026 Summer Season.

The 2026 Summer Season at Port Stanley Festival Theatre premieres May 27th, and it’s sure to be a summer of standing ovations.

The season kicks off with Inner Elder, written and performed by award-winning Cree artist Michelle Thrush. Real-life memories told with laughter and grace, join Michelle on her poignant journey; it promises to fill your heart and put a smile on your face.

Get your groove on with Get Down Tonight: The Ultimate 70’s Soundtrack starring Leisa Way and the Wayward Wind Band. From ABBA to Aerosmith, Joni Mitchell to James Taylor, The Rolling Stones to The Bee Gees: the hits just keep on coming! Press rewind and relive the good times.

Opening on June 10th is the classic Norm Foster The Long Weekend. It’s titillating, it’s sassy, and it’s got a couple of plot twists that you will never see coming. Will these two couples survive a weekend full of grudges, hanky-panky, secrets, and lies?

One starry night 12 years ago, Jesse and Hannah met, and it was magical. Now they have a second chance at love. Sugar Road by Kristen Da Silva is a sweet, romantic comedy set in a rundown amusement park full of laughter, colourful characters, and a couple of catchy tunes.

Deadly Memories, a World Premiere comedy/thriller by Steven Gallagher, will leave you guessing and gasping for August. Cassandra can’t remember anything after her terrifying car crash and doesn’t know who to trust. Is it all in her mind? Is someone out for revenge? Who’ll get the last laugh?

Ship To Shore, Norm Foster’s hilarious new comedy, has its World Premiere on our stage starting August 19th. Is it love at first sight or mutual irritation for Erin and James, both bound on a cruise to Ireland? As they say, “What happens at sea, stays at sea!”

Musical Mondays on our Pat and Ali Shakir Harbour View Patio, Talk Back Tuesdays, The Simon Joynes Playwrights’ Festival, and ASL interpreted shows are all back for the summer of 2026.

Don’t miss your chance to save on PSFT’s Early Bird Subscriptions, a savings of over $50.00, and a chance to win two season subscriptions if you purchase by January 15, 2026. Gift certificates are also available; they’re a great holiday gift!

Every seat tells a story at Port Stanley Festival. Visit www.psft.ca for more information and check out all of its shows!

Wonderful Joe by Ronnie Burkett opens at Auburn Stage at the Grand Theatre, Tuesday, November 4th

Media Release, Grand Theatre.

Award-winning, world-renowned, and infamously cheeky, Ronnie Burkett is back at the Grand Theatre with his unmatched mischievous, rollicking irreverence. Burkett’s latest work, Wonderful Joe, unleashes his sharp, unrelenting wit on the cities we call home, the people we overlook, and the four-legged friends walking beside them. And he’s bringing Mother Nature, Santa Claus, Jesus, and the Tooth Fairy along for the ride. Wonderful Joe, created and performed by Ronnie Burkett, opens the Grand Theatre’s Auburn Stage for the 2025/26 Season. Already extended due to popular demand, the production will run from Tuesday, November 4, through Sunday, November 23.

(Pictured: The marionette leaning rail as playboard. Photo: Ian Jackson)

Siminovitch Prize winner Ronnie Burkett brings the story of Joe Pickle (and Mister the Dog) to life with his signature style of beautiful puppetry and solo performance, with a glorious score and soundscape by John Alcorn. The Globe and Mail’s Best Theatre of 2024 wrote, “If I had to pick only one favourite piece of theatre from this year, Wonderful Joe was it.” Known to Londoners for his sold-out runs of The Daisy Theatre (2017) and Little Dickens (2023), Burkett returns with a poignant yet audacious story brought to life by his string marionettes.

“Ronnie’s unique insight into the world, as a marionettist from Medicine Hat, Alberta, turned into an internationally-recognized star, is unparalleled,” shares Rachel Peake, Grand Theatre Artistic Director. “The way he sees the world with humanity, heart, and the most daring humour is a point of view I am always hungry to live in, if only for the length of a play.”

Wonderful Joe is created and performed by Ronnie Burkett with Music Production, Arrangements, Vocals, Keyboards, and Digital Programming by John Alcorn, Lighting Design by Kevin Humphrey, Marionette and Costume Design by Ronnie Burkett, Featured Vocals by Coco Love Alcorn, and Mixing and Mastering by Jeff Wolpert, Desert Fish Studios. Wonderful Joe by Ronnie Burkett plays on the Auburn Stage at the Grand Theatre from November 4 to November 23.

Single tickets are $48, and Auburn Series Subscriptions offer a 25% discount ($71.44 for both Wonderful Joe and Mrs Krishnan’s Party). Tickets and subscriptions are available at grandtheatre.com, by phone at 519.672.8800, or at the Box Office, 471 Richmond Street.

To learn more about Wonderful Joe by Ronnie Burkett at the Grand Theatre, please visit grandtheatre.com/event/wonderful-joe. Follow the production and peek behmind the scenes by following @thegrandlondon and #GrandJoe on Instagram, Facebook, LinkedIn, Threads, Bluesky, YouTube, & TikTok.